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![Peter Zumthor, Bruder Klaus Chapel, 2006, Mechernich, Germany. [Photos by Florian Seiffert and Claus Moser]](https://archinect.gumlet.io/uploads/8z/8zxtuqply5blj6n7.jpg?fit=crop&auto=compress%2Cformat&enlarge=true&w=514 "Peter Zumthor, Bruder Klaus Chapel, 2006, Mechernich, Germany. [Photos by Florian Seiffert and Claus Moser]")
So, to re-pose the question: what is the radical aesthetic consequence of the cultural desire for sustainable performance? Is it something that expresses itself in a set of formal rules, like the Modern response to the development of the steel frame? Or is it something — because it is essentially about performance — requiring entirely different means to fruition? Well, as with uncharted territory: here there be dragons. — Places Journal
In his latest essay for Places, David Heymann asks, "What is the 'radical aesthetic potential of sustainable design?" Drawing on examples from Leonardo to Duchamp to Peter Zumthor, Heymann explores the still unmet challenge — the "uncharted territory" — of developing a new aesthetic... View full entry
In Still Ugly After All These Years: A Close Reading of Peter Eisenman’s Wexner Center, Alexander Maymind argued the center's "grid-based diagrams instantiate disestablishment effects[2]...hinge on a particular aesthetic reading of architectural ugliness." 18x32 responded "I like where you've gone with the 'Ugly' here, but I don't think this building offers the best example. Nothing about Wexner is viscerally repellant, abhorrent or disgusting."
Alexander Maymind shared his essay Still Ugly After All These Years: A Close Reading of Peter Eisenman’s Wexner Center, recently published in One: Twelve Issue 4, April 2012. Therein he begins by suggesting how the center's "grid-based diagrams instantiate... View full entry
